The films create strikingly individual images of the filmmakers' world and offer sharply observed comments on the restrictions upon subjective agency and well-being in children's lives.
In a study of multimodal narratives belonging to two sets - adaptations of Tsutsui Yasutaka's young adult novella The Girl Who Leapt Through Time and YamazakiMari's manga series Thermae Romae - this article examines how time travel narratives in anime and live action film affirm that eudaimonic living is always a core value to be nurtured.ĭelhi at Eleven, a compendium of four short films made with video cameras by eleven-year-old Indian schoolchildren in 2012, is filmed from a child's perspective – literally, in the low positioning of the single camera, and mentally, in the nature of the close attention paid to the details of events and relationships. Eudaimonia is a 'flourishing life', a life focused on what is valuable for human beings and the grounding of that value in altruistic concern for others. At the core of Japanese time travel narratives is a contrast between self-interested and eudaimonic life styles as these are reflected by the time traveller's activities. Two main types of time travel pose a philosophical distinction between visiting the past with knowledge of the future and trying to inhabit the future with past cultural knowledge, but in either case the unpredictable impact a time traveller may have on another society is always a prominent theme.
To displace a character in time is to depict a character who becomes acutely conscious of his or her status as other, as she or he strives to comprehend and interact with a culture whose mentality is both familiar and different in obvious and subtle ways.
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